Deep dark ambience with rich
ethno-tribal drumming. Na-Koja-Abad crafts smooth lustrous
sheets of sound punctuated with percussive skitterings, shufflings
and hypnotic hand-made beats. At times the peripheral sounds
resemble strange subterranean creatures lurking in the gloom,
at times vast movements of air - the rhythmic percussion dominates
the central section of most tracks with ceremonial intensity,
repeating and evolving whilst underlying drones writhe and
swell. When the beats dissipate, there are moments of ethereal
calm or cavernous shadow allowing layered synths to sigh,
gasp and breathe.
MOOD
Cavernous,
tenebrous - at times environmental effects introduce nature's
serenity, such as the manipulated/manufactured singing of
birds, at others human influences both primitive and contemporary
produce a devotional solemnity. Sections of drifting softness,
harmonious and warm well up and send the listener floating,
passages of shade and gravity creep in bringing weight and
density. The range of real skinned, struck and shaken instruments
- frame drum, darbuka, djembe, rainstick, shakers and rattles
- employed with mesmerising skill suggest a ritualistic
tone in perfect balance with the often doleful music that
spirals smoke-like into the night sky.
ARTWORK
Attractive
graphics adorn this package throughout - graphically enhanced
atmospheric scenes under a heavy sky, underground and seemingly
under water - all produced by the artist himself. The colours
are rich and deep, the textures hyper-real, the light magical,
beautiful. Text is functional and of an elegant font - track
times on the rear cover, credits on the reverse of the booklet
and a simple couplet inside - "From a breath, was what
the old man said... It is all from the one breath...".
Website details are provided and there you can get a look
at more graphics and a complete discography http://www.na-koja-abad.com
OVERALL
Sarajevo
based musician Muamer Music is the man behind Na-Koja-Abad,
meaning “land of nowhere”. The term was apparently
a phrase taken from 12th-century Persian mystic Sohrawardi
to describe a place "that is everywhere, and yet nowhere,
a realm of spirituality where existence is solemnly suspended,
not reflected on anything but itself". Released on
Jungle Jar Records, Fleeting Glimpses is the second album
from this interesting project where organic rhythmic patterns
and dense ambient drones weave their spell.
WHO
WILL LIKE THIS ALBUM
Fleeting
Glimpses is a professionally executed album that will appeal
to lovers of beat-driven ambient. If you like Byron Metcalf's
percussive work and the smooth, unfurling sound worlds of
Numina or Steve Roach then this is a CD well worth listening
to.
MORPHEUS
MUSIC REVIEWS
------
Normal - Lost In Sleep
STYLE
Drifting, ominous ambient darkness,
often intricate and detailed. Synthetic drones rumble and
heave supporting thickly effervescent layers that twist and
well up into overspills of sound. Repeated motifs inhabit
the shifting densities alternately dominant and distant. What
appear to be guitar textures and distortions add piercing
strains that cut through the churning tonal air currents.
Percussive elements range from sonic droplets to dull scuffs
and lumberings - these never develop into anything quite as
rhythmic as a real beat, remaining free and unpredictable.
MOOD
The
dominant mood is brooding and portentous - in places weighty
and murky, but then the mass evaporates allowing softer drones
to float and sail. Whereas Brannan Lane's Sleep Cycles meanders
gently with soporific softness Lost In Sleep presents for
us a heavier image, a vast lightless environment somewhere
truly in which to become hopelessly lost.
ARTWORK
In
keeping with the sonic imagery - the cover artwork here is
dimly lit, deep reds, indigos and violets all set against
infinite blackness. A figure clutches its head in the centre
of an abstracted flower, graphic rings haloing out into the
void above. The same figure is kaleidoscoped across the rear
cover where a track list and credits can be found.
OVERALL
Normal
presents a suite of five pieces here, three built around the
title Lost In Sleep - parts I to III. The album is released
on Jungle Jar records where we're told that "Normal is
a person just like you , except probably older ... Normal
resides in the Midwestern sector of the USA , near that big
lake ...".
WHO
WILL LIKE THIS ALBUM
This
ambient CD might well appeal to fans of the end of the spectrum
developed by vidnaObmana and Alio Die. Dark sounds and dark
atmospheres with plenty of detail.
MORPHEUS
MUSIC REVIEWS
------
Marvin Ayres - Scape
STYLE
Two-part ambient album, the first
part carried by various beats, the second beatless, weightless.
Marvin Ayres establishes here a series of gossamer densities
where vaporous tonalities swirl like the currents of airy
streams, rivulets and brooks. Vaguely orchestral aspects sometimes
hint at the source of these intriguing sounds, but more often
than not sonic manipulation disguises everything beyond recognition.
For the first ten tracks irregular beats skitter on the surface,
insectile and light - only a few weightier rhythms appear.
Superficially it would appear that the percussion is looped
and regular, but anomalies abound - hits aren't always where
they 'should' be, whole patterns drop in steps of tempo -
these disturbances and effects create a tension preventing
the mind from resting too easily. The second section of 'Clusters'
looks toward heaven, caught in a floating limbo where diaphanous
sheets waft on ethereal breezes. The absence of percussion
initially lulls the listener into a sense of blissful serenity,
however, the restiveness of the earlier material remains in
subtler form.
MOOD
Detailed
yet simple, directionless but flowing, busy although tranquil.
Scape presents a positive mood whilst carrying something uneasy.
Unfamiliar or unexpected elements lurk at the periphery maintaining
a state of unrest. The amorphous otherworldliness of the second
half of the CD, whilst inviting the listener to drift, still
shares an atmosphere with the rhythmic first half - a disquieting
calm, an uneasy rest.
ARTWORK
Presented
in a simple coloured card pochette Scape is illustrated with
an ambiguous grid of tiny oblongs that resolve into a cityscape
when viewed at the right distance. Text is basic and functional
- titles only on the front, track listing and credits on the
rear.
OVERALL
Scape
initially manifested as the series of string-driven 'Clusters'
that now make up the second half of the album. These were
then adapted for use in the film 'Scape' and subsequently
further developed with the introduction of a percussive element
(pursuing an 'anti-pulse' approach), resulting in 'a series
of radical remixes' found here as tracks one to nine. Promotional
material talks of "fusing orthodox and off-kilter beats
with city-scape cacophony, yet remaining defiantly ambient
in its approach, Scape is a hybrid of music....." this
is true since Scape creeps almost toward the edges of chillout
or new age, frequently suggests classical sensibilities, lives
under the ambient label yet in truth manages to remain just
beyond the borders of all of these.
WHO
WILL LIKE THIS ALBUM
Scape
will primarily draw ambient listeners, the beat-driven pieces
perhaps appealing to electronic fans looking to explore new
grounds. Although, not in a traditional sense, Scape is, of
course, cinematic - having a an evocative ambiguity that invites
along on a cerebral journey of discovery.
MORPHEUS
MUSIC REVIEWS
------
Gauid:Testa - Continvvm
STYLE
Electronic textures and abstractions
encrusted with various percussives and sampled sounds. Most
pieces are rhythmic or skimmed along by deeply effected beats
- filtered, distorted, sweeping through a variety of degradations
or tonal ranges. Ambient planes undulate gently, populated
with drowning, spiralling voices - spoken, whispered, murmured.
Drips, tape echoes, stalagmites and stones, theremin, tubes
and bubbles, bone flutes, water drum, shells and singing bowls
- all contribute to this electro-organic continuum. One moment
everything lumbers along dub-laden and nodding, strong beats
driving across open spaces, the next we're drifting on a viscous
curl of hypnotic shifting tone...nothing remaining constant
for long.
MOOD
A
sense of wonder at the variety and beauty of sounds both natural
and manipulated. Just as one may be engrossed in nature with
all its enormity or in the fragile detail of its minutiae,
a rust formation, a lichen ring - so Continvvm holds the attention
with large scale rhythmic structures and sonic landscapes
or with the sparkle of a well placed electronic tweak, a sonorous
impact a breath. From melancholy to eerie, from ageless dusts
to futuristic circuitry, from ritualistic grooves to introspective
minimalism - we're allowed to roam the mind at will. The promotional
material explains that this release may be "better classified
'space-out' than 'chillout', pointing out the intent to establish
a blank canvas "for the listener to explore their own
inner worlds."
ARTWORK
Maintaining
em:t records' high standard of presentation Continvvm is released
as a quality digipack that is a joy to own. The lead image
is an extreme close-up photograph of some abandoned agricultural
machinery thick with abstract surface detail - water droplets
fresh and clean bejewelling a mottled, rusted domed centre.
Elegant white expanses dominate the remainder of the three-panel
foldout, faintly textured on the inside of the package. A
simple tracklisting takes up only a corner of the rear cover
with credits floating against abundant white inside. One wing
presents the definition "-n. continuum, that which must
be regarded as continuous and the same and which can be described
only relatively."
OVERALL
Em:t
records (pronounced "emit") have been off the
scene for five years, having produced a series of seventeen
releases between 1994 and 1998. The label has the reputation
of delivering music that defies ready classification. Here
London based artist producer Gaudi has teamed up with Sound-Therapist
Antonio Testa bringing together Testa's love of ethnic,
recycled and homemade instruments and Gaudi's electronic
skills to create a deeply absorbing series of strangely
accessible audio aberrations. Collaborators include, among
others, Alio Die on nai flute, Walter Maioli with drones,
Opium with voice, Nir Bakshy on cello.
WHO
WILL LIKE THIS ALBUM
Continvvm
works to further blur the boundaries between established
genres - fans of pure ambient will likely appreciate the
atmospheric departures established here whilst chillout
and downtempo lovers that enjoy the experimental edge will
be drawn by the colour, depth and exotic nature of this
excellent CD.
MORPHEUS
MUSIC REVIEWS
------
Kirsty Hawkshaw - O<U>T
STYLE
A moving collection of impassioned
songs with poignant lyrics and bewitching vocals. O<U>T
ranges from lazy lounge cool, through drum and bass, gritty
beats via ethereal acoustic piano to floating, dreamy a cappella.
Instrumentation is not dominant - rather subtle pianos and
strings work together with a varied rhythm section to establish
a sensitive backdrop. Kirsty's voice is clear and delicate,
soaring at times to impossible heights - a wispy allure, vulnerable
and finespun. This lady's vocal range is very expansive -
happy to explore extremes of tone, intensity, distortion,
pitch and emotion. Sometimes high up where the atmosphere
is thin, sometimes childlike as if singing to herself and
then angry, yelling the chorus word Sci-clone. Tracks ten
to fourteen see the percussive material fall away leaving
uncluttered, introspective vocal refrains where the term 'achingly
beautiful' really does apply. Haunting simplicity thickened
by a child's voice pulls at the heart, the album melts away
leaving the listener strongly touched.
MOOD
The
thread running through this varied album is one of intensity
- although the expressions of such go from heated, stormy,
bereft to up-close and fragile, lonely and sore. The pace
of the music matches this spectrum - strong beats, downtempo,
soft washes, a little jazz trumpet, Satie-esque piano. Kirsty's
voice and choice of words weave an intimacy throughout -
she's openly, reflectively sharing her heart - the weight
of this candour peaking in moments of wistful melancholy.
A darkness lurks at the edges of a number of pieces, at
times encroaching further, drawing shadows or painting a
cast that even the most angelic intonation doesn't dispel.
ARTWORK
The
artwork for the white label promotional copy that I received
is downloadable from Kirsty Hawkshaw's website (www.kirstyhawkshaw.co.uk).
This replaces the previous design for the 1998 release. In
place of the lush organic original Pheugoo's imagery is cool
and sharp, icy blue. A graphically enhanced portrait adorns
the front cover whilst tracks are listed along with suitable
credits on the reverse.
OVERALL
A
varied, honest and stirring collection of songs. This solo
album is far removed from the early days of Opus III and
exhibits a maturity and confidence that has empowered some
delightful exploration of themes and styles. Collaborative
contributions come from Global Communication's Mark Prichard
and songstress Judie Tzuke - a sample of the latter forming
the introduction to a sensitive cover. Kirsty's vocal talent
comfortably inhabits the core of O<U>T as the centre
of attention, the eye of the storm or the focus of loneliness
- how good it is that this fine CD is available once more
from the official website. But get in quick - it's a limited
edition.
WHO
WILL LIKE THIS ALBUM
Lovers
of female vocals will be drawn to this release - whether
electronic or acoustic fans, there's something here for
all. If you enjoy songs that aim for the heart, music with
feeling - try the samples on the website, I doubt you'll
be disappointed.
Drifting spacey ambience alternating
with rhythmic sequences overlaid with haunting, droning melodies.
The weightless introduction track 'Threshold' briefly sways
and shifts beatlessly before a latticework of pulses and chiming
synth tones eases in followed by the ghostly strains of Robert
Rich's lap steel guitar. The lead sound is distantly reminiscent
of huge undersea creatures calling across immense ocean passages
whilst the latticed understructures call to mind gamelan patterns
- intricate, rolling, tintinnabulous. Scrapes and distant
impacts occasionally punctuate the vapourscapes or light programmed
percussion binds looser arrangements together maintaining
gentle regularity. Tracks interflow into one smooth whole
- drifting space giving way to restive flickering beats and
then again back to nebulous drones.
MOOD
Whilst
Boddy's programming and keyboard work suggest exotic gongs,
chimes, resonators and bowls, Rich's playing keens and swells
with wistful beauty - the combination at times serene and
graceful, at times mysterious and restless. There are passages
of remote spacey loneliness where the ambient clouds that
have rolled in the background take centre stage, moments where
soft, distant pounding impels the eerie darkness into deliberate
motion, tracks where cascading jangles and strikings tumble
along in constant evolution.
ARTWORK
Echoing
the title, an arcing honeycomb of concrete squares curves
across the front cover and the rear of the inner booklet -
once opened out giving the impression of a huge stony dome.
Track titles are found alongside timings on both the rear
jewel case and the inside of the booklet. A portrait of the
two artists is also within, side by side in monochrome. We
have a gear list for both Ian Boddy and Robert Rich alongside
some brief recording details.
OVERALL
Lithosphere
follows up on the duo's debut album "Outpost"
( DiN 11 - 2002 ). As before the pair worked together rather
than choosing a virtual meeting via the internet, convening
at Rich's Californian Soundscape studio. Following Boddy's
departure Rich then honed and fine-tuned the arrangements
before finalising the mastering of the project. As before
the central sound is that of Rich's lap steel guitar and
the "deep bass rumblings of his analogue MOTM modular
system" whilst Boddy brings high quality sampled glass
& stone percussion instruments and a variety of "delicate
keyboard textures ... together with haunting string &
woodwind loops."
WHO
WILL LIKE THIS ALBUM
Lithosphere
sits comfortably at the juncture of ambient and sequential
electronica - try this album if you enjoy serious music with
an experimental freedom. Fans of both artists will surely
appreciate this collaboration since the personalities of both
shine forth and are only enhanced by this coming together
of kindred souls.
